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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Feb. 8, 1999)
|hntertainment B-movies star in first film festival ■ The first annual film festival welcomes student submissions of all feature and short genres. ^ By Jeff Randall Senior staff writer Multimillion-dollar budgets are now common place in the film industry, but some film purists long for the good old days. And some of those people are doing their best to make other people feel the same way. Salt City Home Video and B-Movie Theater are sponsoring the first annual B-Movie Film Festival, and students across the country have been invited to make submissions. All genres are welcome, and the movies can be either features or shorts. Awards will be handed out for Best Picture, Best Actor, Best Actress, Best Director and other cate gories, and all entries will be screened for the possi bility of home video release. “The B-movie is an art form that we would like to see prolonged and maintained,” said Phil Hall, a representative for Salt City Home Video, “and what better way to keep - these films alive than by encour ... A B-movie* is aging youngpeo pie to make more any film that of them?” The idea of a manages to b -movie has . 7 . been culturally provide artistic ... defined by direc j j j tors such as value that exceeds Roger Corman, . j j j ,, who has directed itS lOW budget. or produced more than 50 titles, rHIL HALL including Salt City home video “Captain Nuke representative and the Bomber Boys*’ and “Angel of Destruction.” But Hall said B-movies cannot be lim ited to single genres such as science fiction or youth rebellion. “You look at the true definition, and a B-movie is any film that manages to provide artistic or enter tainment value that exceeds its low budget,” he said. Although popular opinion may state that low budgets equals low quality, Hall said, that isn’t always true. “If you look at a movie like ‘Touch of Evil,’ which is a definite B-movie and a definite classic, and compare it with a big-budget film like ‘Armageddon,’ which one do you think more people have appreciated?” Hall said. “Big bucks may mean better special effects and a slicker look, but good acting, writing and directing Please see B-MOVIES on 14 Mike Warren/DN THE KEYBOARD and saxophone cases of jazz musicians John Carlini and Bill Wimmer waif for their return as famous photos of past jazz musicians don the walls of the Hayden Art Gallery. The exhibit features photos from living photographers whose pictures of jazz reach from the 1930s to today. Courtesy Photo TAKEN BY WILLIAM P. GOTTLIEB, this famous photo of Louis Armstrong appears at this month’s Haydon Art Gallery exhibit featuring the pho I tographers who have captured the original American art form on film. Hay don gallery shows off ‘all that jazz’ in photos By Liza Holtmeier Senior staff writer On one wall, Duke Ellington plays the piano in a pool of hazy light. On another, Ornette Coleman pauses in beatific peace after finishing a saxophone solo. And in a picture by the door, Billie Holiday wails away. In the works exhibited at the Haydon Gallery this month, the idols of jazz have been captured on stage, behind the scenes and up close and personal. Until Feb. 27, the Haydon Gallery, 335 N. Eighth St., will feature a collection of jazz photographs by some of the world’s greatest jazz photographers. “These are the people who saw the most important things in jazz,” said Turner M c u e h e e, ✓ ✓- me paparazzi s cameras. the Hastings •• Guy Le Querrec College pro- Forty years from now, we 'll exposes the absolute bore fessor who j j j dom of life on the road in organized the /00£ af these artists the way bi;, Picturf of DlFy exhibit. ^ Gillespie asleep on a bus. “Forty years look at the mUSidanS in Even jazz’s humor can be from now, seen in Le Querrec’s pic we’ll look at the pictures.” ture of portly Charles these artists r Mingus and his mammoth the way we TURNER McGEHEE bass’ . f. ... oo at the exhibit organizer , ^ mos impor an y, musicians in 6 the photographs reveal the the pictures.” artists’ love for all that is The exhibit uncovers the multifarious cul- jazz, ture of the jazz world. “All of us are doing this because we love Herman Leonard catches jazz s sultry cool in his picture of Dexter Gordon’s face rising out of a swirling cloud of cigarette smoke. The cult of celebrity is depicted in Patrick Hinely’s picture of Don Cherry surrounded by the music, explained Hinely. It s a music that speaks to the human condition. It’s music, Please see JAZZ on 14 ‘Lord of the Dance,’ sans Flatley, high-steps into Omaha By Liza Holtmeier Senior staff writer He calls himself the Lord of the Dance. % And upon seeing Michael Flatley’s self-righteous strut and greased-up chest, who would deny it? But local audiences won’t have a chance to see the diva of Irish step dancing in the flesh. When Flatley’s “Lord of the Dance” comes to Omaha tonight, the show will be minus the garish star and his flaming feet. Flatley is too busy tearing apart the European countryside with his rapid fire feet. As much man (or lord) as he may be, Flatley can only dance with one troupe at a time. For now, he ffol ics through Europe, much to the dis may of many adoring Americans. His two domestic companies, it seems, are left to fend for themselves. And so far, they’re gaining rave reviews. . Audiences can’t get enough of the flailing toe-tapping and almost mili taristic showmanship “Lord of the Dance” offers. The troupes regularly perform to sell-out crowds six times a week. Video sales of the performances have topped 2.5 million copies. And studios thatieach Irish dance stepping are riding high on the fallout of Flatley’s success. However, would-be audience members should not confuse “Lord of die Dance” with “Riverdance,” anoth er Irish step-dancing show touring the nation and featured on PBS. % It would be an easy thing to do. Both feature the wild athleticism of Irish-step dancing. Both capitalize on Celtic music and themes. They both featured dance diva Michael Flatley at one time or another. But “Lord of the Dance” pro claims to have a number of differ ences. First, it forgoes the more tradition al moves of “Riverdance.” Forget dancers who appear paralyzed from the waist up. Think flamenco meets Irish jig, instead. “Lord of the Dance” also takes the plotless, thematic dancing of “Riverdance,” and ties its vigorous Steps together with a narrative. This narrative uses the basic form of good against evil, complete with temptress es, dark lords and goddesses. Dance TIm Facts What: “Lord of the Dance* Where: Music Hall, 1804 Capital Avenue, Omaha When: 7:30 p.m. tonight and tomorrow Cost: $55 and $45, call (402) 475-1212 The Sldnny: Michael Hatley’s dance troupe performs Irish step dancing without Michael Flatley The show’s title character, the Lord of the Dance, leads the narrative, This part was formerly played by self-pro claimed dance lord Flatley. In fact, one could even argue that the original production was meant to show off Flatley’s oiled-up chest just as much as the Irish stepdancing. The production in Omaha tonight retains both the spectacle and the sex appeal of the original production. Flatley’s role as lord will be danced by one of the many 20-somethings in the cast. While the cast’s youthfulness is an inherent part of its sexual energy, it also serves as a testament to the physi cal stamina the show requires. Who else but a lively 20-year-old could stand the two hour tour de force of Irish jigging six nights a week? And though Flatley won’t appear tonight, fans can still see him in all his glory. They can check out his glisten ing pecs - and skimpy speedo - on line at the Lord of the Dance Web site at http://www.lordoftheclance.com.
