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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (March 9, 1998)
Coens’ ‘Lebowski’ big on indie eccentricity By Jeff Randall Film Critic The world of indie is a world to behold. Even though it is a subdivision of art that was conceived to buck traditions, it contains many of its own. And the indie traditions are as set and fast as any other. After years of toiling in virtual obscurity, indie director-producer team Joel and Ethan Coen hit the big time with “Fargo,” a quirky and graphic based-on-a-true-story film that not only sold tickets but also managed to snare a few Oscars. If the Coen Brothers were to hold to the tra dition set by their indie predecessors, they would follow “Fargo” with a decidedly anti commercial, thoroughly bizarre piece of work. That piece of work is “The Big Lebowski.” Although an absolutely fictional tale, the Coens set die film with the premise that it is a true story. ine mam cnaracter is Jen LeoowsKi (Jen Bridges), an aging ex-hippie with a penchant for bowling, White Russians and little else. He is known to his friends, and everyone else, as “The Dude.” The film opens with “The Dude” being assaulted in his apartment by a pair of thugs who are in search of money from another Jeff Lebowski (David Huddleston), a purported millionaire with a much younger wife. When the young wife goes missing and the millionaire Lebowski receives a ransom note, “The Dude” is enlisted as the bag man for the million-dollar delivery. But things go awry, and soon enough, “The Dude” finds himself in a world of trouble, and he is forced to solve the mystery of the Big Lebowski’s wife’s kidnapping. “The Dude” receives help and hindrance in his quest from the Coen Brothers’ usual gallery of twisted secondary characters. John Goodman is especially bizarre as Walter, a foul-mouthed, beer-swilling Vietnam veteran whose militant outlook only deepens I Tbs Facts Title: The Big LebowskT Stan: Jeff Bridges, John Goodman, Julianne Moore Director: Joel Coen Rating: R Grade: A Five Words: Coen Brothers do it again the problems of “The Dude,” his long-time friend and bowling partner. Julianne Moore plays the Big Lebowski’s daughter, Maude. An eccentric and somewhat elitist artist, she believes the kidnapping of her stepmother is a hoax. But, as with most Coen films, the most enjoyable characters are those who don’t really matter. jonn lurturro ana reter Mormare mi a m pair of these roles to near perfection. f TUrturro is Jesus (pronounced like the reli gious figure), a bejeweled rival bowler with a known criminal record as a pedophile, and Stormare is a German nihilist gang leader who is a former pom star. Bridges is fantastic as “The Dude.” His long-haired, slack-jawed character looks flaw less and seems effortless. And his burned-out hippie voice melds perfectly with the Coens’ biting dialogue. Goodman is equally convincing as Walter. Although his character occasionally borders on the excessively annoying, his scenes are among the film’s funniest. Moore is rather dry and cryptic in her role as Maude. She maintains the off-kilter vibe, but her outrageous accent and abrupt demeanor seem a little too phony. “The Big Lebowski” stands along with “The Hudsucker Proxy” in terms of eccentrici ty. Filled with bizarre dream sequences (includ ing a Busby-Berkeley-like bowling/pom flick fan t a s y ) and bookend ed with nar ration from “The Stranger” (Sam Elliot), this film takes on an other worldly quality that is missing from most Hollywood films. As in most Coen films, the realism of the dialogue is sometimes compromised by the manic characters who speak it; but for the most IP "■ Matt Haney/DN 7' part, mm* . “The Big Lebowski” is a thrilling and enjoyable ride that may npt contain the restraint that the Coen Brothers have shown in their best films (such as “Fargo” and “Miller’s Crossing”), but makes up for it in sheer fun. What can follow this is anybody’s guess. Recitals highlight Flute Day events By Barb Churchill Assignment Reporter Despite the weekend snowstorm, Flute Day at UNL will go on as scheduled today. “We’re planning to run Flute Day with no delay,” said John Bailey, professor of flute at the University of Nebraska-Lincoln. “The out-of-town students may have trouble attending, but most come from Lincoln and Omaha. They should be here.” Eighty students are preregistered for Flute Day, which is a series of recitals and masterclasses for high school students and visiting students from other colleges. Three planned recitals will feature works written for solo flute. Two of them, at 1:30 p.m. and 4 p.m., will be given oy the 15-member UNL flute studio. The flute majors will play a variety of works from the solo flute repertoire, TTiese two recitals are intended to showcase the UNL flute studio, as well as educate the younger stu dents on the available repertoire for flute, Bailey said. In addition, Bailey will perform a short recital of flute music at 4:45 p.m. in Kimball Recital Hall. Bailey will perform Johann Sebastian Bach’s “Sonata in B Minor (BWV 1030),” Alan Ridout’s “The Emperor and The Bird of Paradise for Flute and Narrator” and Gunnar de Frumerie’s “Pastoral Suite.” “The Emperor and The Bird of Paradise” will feature narration from James Hejduk, associate professor of music and director of choral activities at UNL. To cap off the day of flute-centered events, the UNL Flute Ensembles will perform at 8 p.m. in Kimball. Deena Reedy, doctoral candidate in flute performance and Bailey’s graduate teaching assistant in flute, will direct the various UNL Flute Ensembles. There will be flute trios, flute quartets, a larger flute ensemble and the “Flute Festival Day Choir,” featuring all flutists who wish to play. Flute Day events start at 9 a.m. and continue until 10 p.m. in Kimball Recital Hall. Admission is free to all events. Monty Python to go on tour Group reunites to celebrate 30th anniversary ASPEN, Colo. (AP) - It was a full Monty, Python that is, if you counted Graham Chapman’s ashes. The legendary English comedy group that started smashing taboos three decades ago appeared on stage together Saturday night for the first time since 1981, announcing plans for a reunion tour and showing that nothing - even the death of a member - is sacred. John Cleese, Eric Idle, Michael Palin, Terry Jones and Terry Gilliam appeared at the U.S. Comedy Arts Festival with an urn, ostensibly contain ing the remains of Chapman, who died of AIDS in 1989. What was billed as a tribute to Chapman turned into a per formance when his pals knocked over the urn and scrambled over each other to sweep and vacuum up their friend. Later, Palin chatted with the urn, chiding Chapman to keep quiet. In between comedy bits, the group announced plans for a reunion tour next year to mark the 30th anniversary of “Monty Python’s Flying Circus,” the British Broadcasting Corporation show that offended many and became a worldwide hit. The show was broadcast in Britain from 1969 to 1974, but Monty Python continued gamering fans on both sides of the Atlantic through reruns, specials and six movies. The group disbanded in 1983, although several members collaborated on films, including “A Fish Called Wanda” and the Gilliam-directed “The Adventures of Baron Munchausen.” Idle told reporters that a tour “would be fun if we could still be funny.” Cleese said previous attempts to get the group together failed because they focused on making a movie, and that would take too much time. “We could probably find 10 weeks for a tour,” Cleese said, adding that the production would likely go to London and some American cities. The show and movies launched clas sic comedy bits that fans know by heart, like the lumbeijack who in addition to cutting down trees, “puts on women’s clothing and hangs around in bars.” Or the fumbling Roman Catholic cardinals who burst in on an unsuspect ing couple: “Nobody expects the Spanish Inquisition!” The show was innovative because the members “had done just enough comedy to be fed up with all the comic conventions of the time,” he said. Chapman, the doctor-turned-writer,' was never far from their minds as they chatted about their history. Cleese said it always was a pleasure to be around Chapman because “he just adored bad taste.” Saturday’s show will be shown March 21 on Home Box Office.
