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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Jan. 20, 1997)
mm Campion gives em touch By Bret Schulte Film Critic Another year, another adaptation. In 1995 we were brought Jane Austen’s “Sense and Sensibility” and more Austen with the 1996 release of “Emma.” 1997 has some thing entirely different in store, however, wjth the brilliant modem re-telling of Henry James’ classic, “The Portrait of a Lady.” As she struggles with numerous suitors, Isabel Archer, craftily embraced by the radiant Nicole Kidman, simply wants to feel alive. An American expatriate, she resides with her amaz ingly wealthy English relatives. When her uncle dies, she is left with a fortune and can live her life free from commitments and societal re straints —which she does, for a while. While shrugging off several adamant couriers, the bold and independent Miss Archer gallivants around Europe, where she is intro duced to Gilbert Osmond by an ambiguously evil mutual friend, Madame Merley (Barbara Hershey). John Malkovich presents another un forgettable character in Gilbert Osmond, a cold, manipulative and recreant Parisian. Osmond feigns affection toward Isabel while his pierc ing intelligence and odd ways intrigue her and eventually ensnare her. The film moves rapidly, often jumping sev eral years at a time, documenting Archer’s de scent Jbmlnd^ndence to submis sion at the will offier husband. The pacing works well, and director Jane Campion has an eye for indulgence and nuance that is skillfully used in the design of the film. From die art-film opening to the freeze-frame ending, “The Portrait of a Lady” transcends most rather limited adaptations of classic works. Campion’s distinctly feminist-enlightenment fiffWHHH storm Photo courtesy of the Zoo bar Tinsley Ellis (above) will bring the blues to the Zoo Bar, 136 N. 14 SL, to night. Ellis, an Atlanta native who was raised cm Southern blues, rock and R&B, is touring in support of his latest album, “Storm Warning.” The album is on the Alligator Records label and features Ellis on guitar and vocals. The song list in cludes six Ellis originals, as well as cov ers of blues classics such as “Early in the Morning” (originally by Junior Wells) and “Side Tracked” (originally by Freddie King). Ellis’ own compositions on the album include “Wanted Man,” which features the recording debut of 14-year-old slide gui tarist Derek Trucks. As far as sonic descriptions go, Ellis wavers somewhere between the deep soul 6f Delta blues and the more upbeat styles of Chicago and jump blues. Ellis prefers to call it “Southeast blues ” Ellis will take the stage at the Zoo at ? 9:30 pm___ ■* - _ , . . .. * ■ Photo coctcksy op Gainey Pktohes ■MU HOMM art Mi MaAmtck star as bakal Arckar art ka sppnssba kaskart Mart Osaaat hi tta Jw Caaataa flbr“Tke Portrait •faLaiy.” position (see art-film hit “TTie Piano”) is an ab solutely essential element to the development of Archer and die film representation of her life. And it is only such insight that can be offered £y sueh a director that dould c^ery this film t&a Campion, refusing to produce a rigid, plas tic adaptation of a powerful work, has created a modem, flowing piece using contemporary di rectorial style and editing. This classic tale is brought to a modem audience through prolonged close-ups, strikingly artistic camera work and surprise elements of sexual fantasy and surreal ism. It is clear that limitations do not reside in the work itself, only in the one who interprets it. Campion knows np limitations. ; y While many may feel that a film of this, type ^.M ^^^^ifljience Jh.is story of ffetcje fe male independence, transgression and i triumph is a pointedly modern and i film. Through a story of this kind we realize to what degree the role of women in our world has changed, and how it hasn’t. For while we have instituted suffrage, legal equality and political correctness, women still suffer oppression from a variety of sources, frequently their husbands. film: “The Portrait of a Lady” Stars: Nicole J<4thpaiV.W«fc.hl^tevjch, Bar- j -baraHershey, Mj^hLamss Parker [ Grade*A * Five Words: Mare like interpretation than ad aptation ,j Spoof of martial arts flicks typical Farley fare By Gerry Beltz Film Critic Let’s see. Destruction of fragile valuables, huge amounts of self-inflicted pain, and a star with the grace and delicateness of a World War II tank, all very loosely woven around a paper thin, overused plot. *• And still people laugh and laugh and laugh. Yep, “Beverly Hills Ninja” isa Chris Farley flick. . , Ninjitsu — an art of stealth, cunning and mystery — is perfect fodder for Farley ’s self destructive style of humor. Throw in some bar sic martial arts weaponry (bo and jo staves, three-sectioned staff, shuriken) and the cin ematic snobbery of Beverly Hills. SPLACK! You have a movie for the masses who loved the “Ace Ventura” flicks. , For centuries, a secret clan of ninjas has trained in its unique art. Then, a child from a foreign land joined the clan, and this child was destined to become not just a Ninja, but a re ally, really good Ninja! Unfortunately, the ninjas got Haru (Farley) instead. His mission? Stop the counterfeiters, save the girl and discover the abilities he has hidden within himself. (Counterfeiters? Where did they come from? Ah, who cares? Look! Farley bumped his head again! HAR HAR HAR!!!!) Director Dennis Dugan had the right idea to make a movie succeed — just let Farley run around and slam his head and body into various inanimate objects. The first 10 minutes or so of “Beverly Hills Ninja” do provide a couple of laughs for any one who has seen more than four martial arts Photo Courtesy of Tri&ear Pictures CHRIS FARLEY stan as Hare, aaeiphaavaM by ahijas,vhebeNeies Mansi te He the leieaJanr Great White Rla|a in “BEVERLY HILLS NINJA.” "a"—! flicks in their lifetimes. The “pick-up-the-bum ing-pot” scene actually was funny, even if it was' predictable. " It’s nice seeing Robin Shou again. He is a truly gifted martial artist, and his fight scene toward the end, while fairly normal, was a nice break from the rest of the movie. Chris Rock also shows up as a valet at Ham’s hotel, but his presence is virtually wasted. It’s an utterly stupid movie, but some people like stupid, so some people will like “Beverly Hills Ninja.” Film: “Beverly Hills Ninja” Stan: Chris Farley, Robin Shou, Nicolctte Sheridan, Director Dennis Dugan Rating: PG (mild toilet humor) Grade: D ^ ,/ Five Words: Clumsy twit practices martial arts
