Maverick
Grade: C
The high priestess of angst hasn’t
turned in her crown of thorns yet
Alanis Morissette, whose well
positioned hair provides her only
cover in ho* video for “Thank You,” is
still fully wrapped in hostility.
And tins time, she adds the pice
of success to her list of vexations.
Alanis’ new album, “Supposed
Former Infatuation Junkie,” is; her
first since the best-selling “Jagged
Little Pill”
a mucn-anucipatea enaeavor,
die album is being watched byfans
and music industry execs to see how
it stands up to her first album’s
Guinness Bode of Records standing
as biggest-selling debut album.
Well, it’s sure to seHL, but more
because of die succesadf “Jagged
Little Pill” than because of its own
maits. • - jf
In many ways, the album repre
sents the amount of growing up
Morissette has, done since “Jagged §
Litde Pill” was released. The songs
feature more intrica^ebinplex
melodies and harmdnies, and die
album’s highly synthetic nature pro-'
vides a more mature tone.
But that voice is still there... that
voice that climbs upa series of notes,
snapping the last^a^^^^^^
sings, it’s as if someone took a sharp 7
fingernail to your brain stem. You
can’t help but cringe.
And that voice fights with the
music for most of thq^bum. Alanis
struggles to dominate over the string
arrangements, the synthesized drum
lines, the guitar, the bass and the syn
thesizer. The music drowns her out,
and Alanis fights back by punching
her lyrics harder and screaming the
notes higher.
Only a few songs manage to
escape the tumbling, stumbling
cycle.
The album opens with “Front
Row” a hard-driving number where
Alanis’ anger is partially projected
of “You Oughta know,” features a
ueamiy uuse ui seii-uisu usi over a
forceful guitarSne and ton be&;
“UR,” which sounds most See
toe songs from Alanis’ last album,
returns to more folkish roots. With its
melodic harmonica and guitar lines,
the song features a milder Atoms
singing about her maturation in toe
music industry. She progresses from
. hopeful to terrified to resilieaf*sbow
ing that success has actually taught
her something.
Alanis also softens for the apolo
getic “One.” Above toe smooth, lyri
cal piano and gentle drum line,
Alanis calmly admits to being apre
tentious, loud hypocrite. (Well, at
least she admits it) - " ■
Overall, Alanis fans will proba
bly not findthe tunes on this album as
catchy as those on “Jagged Little
Pill.” Since the album is destined for
radio-overplay heaven, this may be a
blessing for non-fans: These songs
definitely won’t get stuck in your
head like “Ironic” or “Head Over
Feet”
For those who were hoping
Alanis would fmd peace in her old
age, “Supposed Former Infatuation
Junkie” will be just as hard to swal
low as “Jagged Litde Pill.”
- Liza Holtmeier
Remakes hurt Hollywood’s image
REMAKES from page 8
“Good Will Hunting”) and filled with hip new stars,
the film is a full-color remake of the original. Nothing
here is new except the actors and die color, made so
despite die fact that Hitchcock shot the original in
black and white for increased drama and artistic use of
shadow and lighting.
Universal Pictures failed to respond to calls
regarding “Psycho,” due out Dec. 4.
Some say that Universal Picture’s latest endeavor
is indicative of a general lack of originality in
Hollywood script writers. Others claim the slew of
remakes are due to a more intense drive for monetary
gain on the part of Hollywood executives. The gener
al consensus, however, is that remakes usually just
don’t work. Aside from a few exceptions, many don’t
become box-office blockbusters and most are forgot
ten.
Convenience and a lack of creativity are among
some of the reasons for the remake resurgence, but
marry believe there is simply a lower financial risk to
mfilmina nrrnnm material
“When one or two (remakes) make some money,
it’s enough to keep the studio afloat, and since people
are so starved for good films, they’ll flock to see
something halfway decent,” said documentary pro
ducer and film historian Bruce Crawford. “There is a
lack of originality, and Hollywood is afraid of trying
something new. They’re unwilling to take a chance.”
Wheeler Winston Dixon, English professor and
chairman of the film studies program at the
University of Nebraska-Lincoln, said remakes are
basically Hollywood’s version of a marketing ploy: a
way to reintroduce tested properties and rebuild fran
chises that have already been done. Hence “Psycho”
Refieshtog old ideas is nothing less than the foun
dation of any living art fdrm, including film. But
Hollywood took things a step further in 4976 when
Dino De Laurentis produced a remake of 1933’s clas
sic film Kong.” Despite a lackluster box office
retUTP, the floodgates were opened for good.
■ - / v. ___
In the past five years or so, remakes returned big
ger than ever, and Dixon said the problems that
plagued the stale Him industry during the ’80s have
swollen to the point that nowadays Hollywood is
interested only in safe bets.
“The cost of making a movie has risen, and the
financial stakes are that much higher. Therefore, it’s
really becoming more cash-driven,” Dixon said. “It’s
a sad state of affairs, but the fact is drat even if the new
‘Psycho’ is terrible, everyone will go see it out of
Curiosity.”
The continuing presence of remakes in theaters
proves that die public generally takes what it is given.
However, despite Hollywood’s dwindling attention
span, original films like “Trainspotting” and the stu
dio renegade “The English Patient” do pop up from
time to time, ami both critics and fans show their
appreciation with acclaim and revenue.
The existence of these original films would imply
that filmmakers prefer on-screen creativity over artis
tically null, but financially acceptable, remakes.
Sandy Veneziano, production designer for the
soon-to-be-released big screen version of the 1960s
icicviMuu acucs mjt ravuuic lvuuuau, saiu many
producers and directors are, indeed, artists. But
“I think there are a lot of good writersstill, it’s just
that Hollywood isn’t choosing the scripts,” Veneziano
said ^^hk HoHywood filmmakers are few and far
between, aud it’s mainly accountants. The heads °f
studios are the ones making the decisions on pro
jects.”
Veneziano was the production designer for the
highly successful 1991 remake of 1950s comedy
“Father of the Bride.” She said there is a flip side to aU
the remakes flooding the marketplace, namely that it
returns public interest to timeless classics.
“‘Father of die Bride’ was very successful in the
’50s, and it wasn’t that the first version wasn’t good
enough. We thought we could give it a new look and
make it fun, and it was very successful,” Veneziano
said “It also helps the studio because people will go
to Blockbuster and rent the original out of curiosity to
see the difference.”
- Dan Kines, manager at Audio-Visual Video
Center, said, for the most part, what Veneziano says is
true.
“Generally, people rent a lot of the newer films,
but there are some that rent the older one to compare,”
Kines said “Like when ‘Dr. Doolittle’ came out, a lot
of people rented the original.
“It’s not like a really significant mount, but it
rents more than it otherwise: would”
While blips of renewed interest in original films
are all well ami goodJHollywood’s recent cannibalistic
philosophy raises questions about the future of film.
Veneziano foresees a happy ending.
“I think the independents are going to become
stronger and stronger. Those are the pictures that peo
ple want to see, and the studio executives will try to
find diem,” she said. “It’s going to be really hit-and
miss because the executives don’t want to gmble, but
slowly they’re realizing that it doesn’t always woric”
Next month, when the, vethatim^PsychO;” fits
theaters across the nation fora second time, the
remake will mark a milestone in film history by prov
ing that rohakes are becomong die nab^thtoal defin
ition of the word: glossy reproductions of original
artistry.
* Film aficionados, including Hitchcock purists,
will certainly stand in line for the new “Psycho,” but
it’s doubtful they believe the future of film is going to
improve if Hollywood continues to pillage the past
rafter than explore new territory.
Dixon believes this public endorsement of
remakes inevitably guarantees their future in
Hollywood. ..
“I think people will continue to see the films, even
with the deteriorating quality, because they don’t have
a choice, It’s all they’re given,” Dixon said. “I don’t
thirik the situation is going to improve, and, basically,
as long as people aren’t offered an alternative, things
are going to get worse.”
A ’ - -
" • .< . •
I
☆
TM
Premier Parks Family
1999 Season
-V.
Wednesday, November 18,1998 Registration & Auditions
University of Nebraska i:00p.m to 5:00p.m.
Culture Center Call Back Auditions
Upper Multi-Purpose Room Immediately following
. - Jj
General Information
> All persons auditioning should provide a head shot photograph and
■ r ; resume.
> Dancers - Prepare a (1) one minute dance combination. You may be
asked to sing.
> Singers - Prepare (4) four selections that display versatility. Provide
sheet music in your key or track tape without vocals! Singers may be
asked to dance. Accompanist provided.
> Actors - Prepare a (1) one minute monologue. You may be asked to sing.
Additional Information
> You must be at least 16 years of age to audition. Rehearsals begin
between February and June 1999. Employment runs February through
•->- • September depending oHproduction. Employment extensions for special
holiday shows may be available / 7
Technical and Wardrobe interviews will be held at the audition
> Casting Opportunities at Premier Parks throughout the country are
For More Information Contact: (210) 697-Live (5483)
V. .V ^BXFUG8:ni*.01*«fcH(pTta»Hrt»Ine. ~
Six Flap is an equal opportunity empioyer
. .M. '
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