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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Feb. 22, 2000)
‘Boiler Room’ knocks off other,
better Wall Street-type movies
Troupe to perform
By Samuel McKewon
In watching “Boiler Room,” an
expose of sorts on stockbroker chop
shops, I was reminded of words Mark
Twain once spoke about women who
cussed: “She knows the words, but
knows not the music.”
Had writer and director Ben
Younger known the music to go along
with his dialogue-heavy script, he might
as well have made another “Wall Street"
or “Glengarry Glen Ross.” Instead, the
movie seems like a theft of those better
films because it cannot develop any
sense of story outside die stock con.
“Boiler Room” pumps in those
early scenes, as 19-year-old Seth Davis
(Giovanni Ribisi) learns the ropes at J.T.
Marlin - a one-floor, low-ceiling rent
space in an office building way die hell
out on Long Island, a “good hour away
from Wall Street,” as Seth points out
But die surroundings fool no one. At
J.T. Marlin, everybody is under 30- and
everybody is very rich. Recruiter Jim
Young (Ben Affleck) tells new pledges
they’ll be millionaires in three years. He
tosses the keys to his Ferrari on the
table: “Money can’t buy you happiness?
Well, look at the smile on my face.”
Seth buys into it, all of it. Never
mind that the firm makes money by
scamming middle-class folks out of
| Ribisi, Vin Deisel, Ben
Affleck, Nicky Katt
DIRECTOR: Ben Younger
RATED: R (language,
1 I I and lots of it)
Energetic, then a big cliche
their savings by selling them nonexis
tant stock. These are guys who know die
movie “Wall Street” by heart - and wor
ship Michael Douglas’s character
But Seth has better reasons to suc
ceed, and all roads lead back to his dis
appointed father (Ron Rifkin), a judge
who would like to disown him.
Seth needs some new, in-the-money
friends, and he finds them: J.T. Marlin
compatriots Chris (Vin Diesel) and
Greg (Nicky Katt), both husder million
aires who never sniffed die Ivy League.
Inside J.T. Marlin, “Boiler Room”
thrums with energy, as Seth is taught die
rules of the stock con: Always sell hard,
never let them sell back to you, lie, lie
some more and never, ever “pitch the
bitch” - as in, never, ever sell stock to a
woman. Seth buys a new suit and per
fects those rules.
It’s about that point when the movie
falls off the rails, descending into old,
FBI investigation cliches and a romance
subplot involving the secretary (Nia
Long) that no one needed to see again.
Seth begins to uncover what’s hap
pening at J.T. Marlin and plots a major
scam a la Charlie Sheen in “Wall
Street,” while the feds are closing in.
Younger, who spent nine months
doing research at a chop shop to get the
atmosphere clearly didn’t spend a whole
lot of energy on the rest of the story.
The director shows some interest in
portraying how these young men spend
money - they live in giant houses with
nothing in them - and their strange con
nection to black culture. (A hip-hop
soundtrack riffs throughout.)
But it’s all dropped during those
•fleeting 30 minutes, as Seth tries to help
a worked-over customer (Taylor
Nichols) who lost his shirt in the scam,
and tries to reconcile with his father.
There are hordes of memorable
lines in the “Boiler Room,” likely to be
repeated at a fraternity bar near you. It’s
those lines that make the movie work.
As a parable against greed, it slumps.
Few can deny a vicarious thrill in
watching these sharks go to work. But
Younger messes with morality in the
wrong ways, he knows not the notes,
screws up the tune and watches his own
chop shop of a movie get shut down.
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By Emily Pyeatt
Few times is visual poetry creat
ed by human limbs stretched upon a
stage. The precision and movements
of the human body expressed
throughout dance speak a visual lan
guage that is truly unusual.
The Japanese dance group Buto
Sha Tenkei brings its dance form of
butoh to Lincoln tonight in the
Johnny Carson Theater.
The perfbrmance is fueled by
the work of Ebisu Torii and Mutsuko
Tanaka. Four dancers, including
Torii and Tanaka, will perform a
dreamlike interpretation of compos
er Frederic Chopin’s “Nocturne.”
The 80-minute journey is
“something you can enjoy the way
you would a picture book,” Torii
said in an interview interpreted
through production manager
The story, imagery and butoh is
also interpreted through the use of
lights, sound and precise movement
for a cultural experience that tran
Barbara Banks, spokeswoman
for the Lentz Center for Asian
Culture, said that butoh was a post
Hiroshima art form.
“Butoh can deal with dark
themes but is quite intense,” Banks
Butoh’s intense roots stem from
the dance form called ankoku buto,
created by Tatsumi Hijikata in the
sixties. Literally translated as the
“dance of darkness,” the art form
connoted dark images prevalent in
The changes during the sixties
included movements in politics and
art. The explosion in art brought the
avant garde movement.
Hijikata was heavily influenced
by the work of Andy Warhol and
avant garde experiments in artistic
“Hijikata wanted to translate the
changes during the sixties into a
style of dance,” Tanaka said.
Torii and Tanaka were both
inspired by Hijikata’s form of dance
and began to practice butoh in 1981.
“The dance style reveals the
inner soul,” Tanaka said.
Tanaka and Torii said they want
ed to continue such revelations
throughout future generations.
For the previous ankoku buto
WHO: Buto Sha Tenkei
WHERE: Johnny Carson
Theater, 12th and R streets
WHEN: Feb. 22,8 p.m.
COST: sold out
THE SKINNY: Japanese
dancers bring dreamlike
quality to Lied.
dance form to translate to modern
audiences, Torii and Tanaka wanted
the emphasis and themes of butoh to
remain light versus the previously
“We were very drawn to the
early form of dance, and we wanted
to create a dance for ourselves and
our generation,” Tanaka said.
Perhaps the darker parts of
human existence were explored in
the early forms of butoh, but the
dance Tanaka and Torii discovered
for their generation included many
“You can’t really describe butoh
as a single form. It is a mix of ele
ments from all kinds of people,”
The diverse elements of the
butoh style are evident in the perfor
mance of “Nocturne.”
“‘Nocturne’ is not a very dark
piece. There is humor in the dance,”
Torii said. “The performance
explores the darkness and shadows
from a dreamlike sense, but that
darkness is not necessarily nega
The many different interpreta
tions of the butoh dance form have
been explored by Torii and Tanaka
throughout their world travels.
The performance’s surreal
images are enhanced by the dynam
ic music and atmospheric lighting.
Masaru Soga’s moody music along
with Yoshiro Abe’s lighting design
enhance the dream-like qualities of
not only the butoh dance form, but
The translation Torii and Tanaka
chose for butoh means “Heavenly
Chicken.” Yet, the direct translation
is heavenly bird in English.
“We wanted a pop sound to
emphasize the humor and modern
elements of butoh so we chose to
use chicken in the translation,”
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